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“Neue Graeue” is a photographic reflection on the relation of the Everyday and the Political, taking into account the common perception of the political as being essentially transmitted via media.
The work is intended to elaborate ways to comprehend the latent connections between both spheres, which some argue are irreconcilably separated. It is aimed at a self-reflection, i. e. a self-reliant process of conceiving of reality and at elaborating the photographic material to inform and formulate the author’s point of view on relevant societal and political issues. By applying documentary and narrative strategies the work deals with the gradual shift to inescapable control, to the Right and “into the minds” by means of normalisation, commodification or internalisation.
The title is associated to this regress to less humane and socially minded conditions. It inevitably opens up associations to the use of black and white photography throughout the work and to qualities conventionally ascribed to it. However the grey of the images is not intended to aspire to these. First and foremost it inflates the pictures’ various layers e. g. of advertisements and their surroundings and further it allows for a temporally displaced view on what is “happening before our very eyes”, but what is easily dismissed or failed to realize in our everyday routines. Its application paired with the directness and inaccuracy of the cellphone rather challenge our habitual perception of contemporary photography as a medium for the masses. Additionally the frequent use of the mobile was often necessitated by the need to remain unnoticed, adding tension between the relation of the surveillant and the surveilled.
Holding on to photography, not worth mentioning while its applicability to contemporary issues is repeatedly called into question and accredited to other media, is based on the conviction that highly complex issues can still be identified in the Everyday and elaborated through photographic means. The Everyday as a sphere that is disconnected from the political, global or mediated does not exist.
fotografie als reflexion ueber das verhaeltnis von alltagswirklichkeit und politischem. mit dem blick auf alltaegliche situationen moeglichkeiten herausarbeiten, die latenten zusammenhaenge zwischen den vermeintlich getrennten sphaeren zu begreifen. ein prozess der selbstverstaendigung, also dem sich eine vorstellung von etwas machen, sowie der verdichtung des fotografischen materials hin zur formulierung einer eigenen sichtweise auf relevante gesellschaftliche und politische themen (bspw. ueberwachung, nationalismus, kommodifizierung). dokumentarische und narrative strategien als mittel den gesellschaftlichen ruck hin zu mehr kontrolle, nach rechts, „in die koepfe“ zu thematisieren (stichwoerter: normativitaet, internalisierung von ideologien).
das festhalten am fotografischen abbilden, ist ausdruck der ueberzeugung, dass hochkomplexe verhaeltnisse im alltag (immer noch) sichtbar gemacht werden koennen.
der alltag als sphaere getrennt vom politischen und globalen existiert nicht.
strange memories on this nervous night […]. five years later? six? it seems like a lifetime, or at least a main era—the kind of peak that never comes again. ___ was a very special time and place to be a part of. maybe it meant something. maybe not, in the long run… but no explanation, no mix of words or music or memories can touch that sense of knowing that you were there and alive in that corner of time and the world. whatever it meant… history is hard to know, because of all the hired bullshit, but even without being sure of “history” it seems entirely reasonable to think that every now and then the energy of a whole generation comes to a head in a long fine flash, for reasons that nobody really understands at the time—and which never explain, in retrospect, what actually happened. […]
you could strike sparks anywhere. there was a fantastic universal sense that whatever we were doing was right, that we were winning.…and that, I think, was the handle—that sense of inevitable victory over the forces of old and evil. […] our energy would simply prevail. […] we had all the momentum; we were riding the crest of a high and beautiful wave…
now, less than five years later, you can go up on a steep hill […] and look west, and with the right kind of eyes you can almost see the high-water mark—that place where the wave finally broke and rolled back.”
[excerpts of raoul duke’s “wave speech” from fear and loathing in las vegas – hunter s. thompson]